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For the aforementioned reasons I would call it a Frankenstein release. First try in the pure video centric camera market. Regardless of the marketing monstrous rigs showed, this camera is a pro v-logging tool and essentially a naked run&gun kit. Internal 32 bit audio and ibis are the key points and let's see if Nikon was able to solve its issue with that sensor as Lumix did. -
Between the two, the new Canon and this, obviously if you are in the Canon ecosystem or with Nikon, the choice is obvious, providing either of these things can do what you need them to do. I think they both look the part, but neither of them really suit my needs so still perfectly happy I went full Lumix, and even if they had been Captain Amazeballs, I still wouldn't have jumped. If I had gone for one of them, I'd have gone the Nikon route, but only if I'd stayed within the Nikon body, adapted E Mount glass camp where I partially previously was. I am happy they exist even if they don't tick all my boxes. -
I don't really know much about what their highlight recovery actually does, but if you're talking about super-whites (levels above 100) then they might get decoded and might be available in the nodes? My GX85 records super-whites and in my standard node tree for it I just pull down the Gain slightly and they just get pulled down into the working range. If you're talking about the smart behaviour of using some colour channels to recreate a clipped colour channel then I think reducing the saturation of the highlights might do broadly the same thing. There are also other tricks you can use like combining masks with the channel mixer to effectively copy one (or both) other channels to the one that's clipped. That will preserve the saturation of the recovered area, useful for recovering things like tail-lights or flames, whereas reducing the saturation obviously won't. -
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